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The Nocturnes, Op. 32 are a set of two nocturnes written and published by Frédéric Chopin in 1837. The nocturnes are dedicated to Madame Camile de Billing.〔 To some, these nocturnes are not as impressive as their predecessors, the Nocturnes, Op. 27.〔 While each piece "exemplifies one of the composer's various approaches to nocturne form," Blair Johnson felt that, in the piece, the "moments of originality and power stick out in a way that they couldn't have, had the entirety of the pieces been sewn of finer silk."〔 James Huneker also found this set "a little tiresome."〔Huneker (1966), p. 261〕 Gustav Barth commented that Chopin's nocturnes show definite signs of "progress" in comparison to John Field's original nocturnes, though the improvements are "for the most part only in technique." However, David Dubal feels that the pieces are "more aptly described as ballades in miniature." == Nocturne in B major, Op. 32, No. 1 == The ''Nocturne in B major'' is initially marked ''andante sostenuto'' and is in 4/4 meter. There are several ''ritardando'' markings throughout, followed by ''a tempo'' markings in the next measure, such as in measure 7 and 8 and in measure 17 and 18. The piece transitions to ''adagio'' in the last two measures, starting in measure 64. The piece is 65 measures long and, unusually, ends in the tonic minor key, B minor, although some editions (such as those by Rafael Joseffy〔http://conquest.imslp.info/files/imglnks/usimg/e/e3/IMSLP112338-PMLP02306-FChopin_Nocturnes__Op.32_Joseffy.pdf〕 as well as Chopin's student Carl Mikuli〔http://petrucci.mus.auth.gr/imglnks/usimg/b/b0/IMSLP48458-PMLP02306-Chopin_Nocturnes_Schirmer_Mikuli_Op_32.pdf〕) and performances (such as that by Arthur Rubinstein〔http://www.youtube.com/watch?v=U92QEmtR63E〕) end with a B major chord, which has the effect of a Picardy third in the context of the minor-mode coda. There has also been confusion over a key in the first bar of the last line: Theodor Kullak and Karl Klindworth use a G, while Julian Fontana used an F-sharp.〔 David Dubal found the nocturne to be "of less importance, though characteristic in design and melodic contour."〔Dubal (2004), p. 464〕 However, he states the coda "completely shocks the listener out of reverie."〔 According to Berkeley, the ending "defies analysis, but compels acceptance."〔 Jim Samson states that "The interruption of the song by this startling passage of instrumental recitative submits to no formal logic, but rather brings directly into the foreground Chopin's desire to make the music 'speak'." James Huneker found the F-minor section to "() out to dramatic reaches" though he still viewed the overall piece negatively.〔 The ending was both "dramatic and original" to James Friskin, in comparison to the simplicity of the rest of the piece. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Nocturnes, Op. 32 (Chopin)」の詳細全文を読む スポンサード リンク
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